Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Zeynep Bastık - Bi Tek Ben Anlarım (KÖFN) - Chord
Key F major – D minor Chords Bbmaj7, Am7, Fmaj7, Dm7, C, Gm7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Bbmaj7 Fmaj7 Bbmaj7 Fmaj7
Bbmaj7
Teninin üzerinden kayan bi buzdur
Fmaj7
Uzak bakışlarım
Bbmaj7
Hiç izlememiş olsaydım bu filmi
Fmaj7
Canımı acıtırdı
Bbmaj7
Ama seni bilmek
Fmaj7
Seni bilmek, seni bilmek
Beynimde bi kurşun
Bbmaj7
Seni bilmek
Am7
Seni bilmek, seni bilmek
En büyük ceza
Dm7 C
Her anın aklımda
Bbmaj7 Am7
Her kıvrımın
Dm7 C
Sanmasınlar asla
Bbmaj7 Am7
Seni benden ayrı
Gm7
Savrulur savrulur
Am7
Saçlarında hayatın
Gm7
Seni sorsunlar benden
Am7
Bi tek ben anlarım
Dm7 C Bbmaj7 Am7 Dm7 C Bbmaj7 Am7
Gm7 Gm7 Am7 Am7
End of song Play again?
Zeynep Bastık - Bi Tek Ben Anlarım (KÖFN) Tabs
NotesX
Harmony analysis
Zeynep Bastık – Bi Tek Ben Anlarım (KÖFN): key and chord analysis
The song opens on Bbmaj7 and ends on Am7. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F major side because F is heard 5 times against 4 for Dm. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Fmaj7 | Tonic — home | F · A · C · E | 5× |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 4× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 9× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 10× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 4× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 4× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| IIImaj7 | Fmaj7 | Relative major — the bright side | F · A · C · E | 5× |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 4× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 9× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 36 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Bbmaj7 Fmaj7 FIVmaj7 → Imaj7plagal cadence DmVImaj7 → IIImaj7 ×5
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×4
The move to watch is Bbmaj7 → Fmaj7, heard 5 times. From the F side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Dm side it is VImaj7 → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Fmaj7, land on F, A, C — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Bbmaj7 lays a solid floor for everything that follows. Bbmaj7, Am7, Fmaj7, Dm7 carry the song: IVmaj7–iii7–Imaj7–vi7 relative to F, VImaj7–v7–IIImaj7–i7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → Fmaj7 (IVmaj7 → Imaj7 in F, VImaj7 → IIImaj7 in Dm): plagal cadence — the soft 'amen' ending. It closes on Am7, letting the F side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Zeynep Bastık - Bi Tek Ben Anlarım (KÖFN) Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Salman TinMusic: Salman Tin
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